Aesop
163 pages
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Aesop's Fables; a new translation

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The Project Gutenberg EBook of Aesop's Fables, by AesopThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever. You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: Aesop's FablesAuthor: AesopRelease Date: February 27, 2004 [EBook #11339]Language: EnglishCharacter set encoding: ISO-8859-1*** START OF THIS PROJECT GUTENBERG EBOOK AESOP'S FABLES ***Produced by Suzanne Shell, Greg Chapman and the Online DistributedProofreading Team.�SOP'S FABLESA NEW TRANSLATIONBY V. S. VERNON JONESWITH AN INTRODUCTIONBY G. K. CHESTERTONAND ILLUSTRATIONSBY ARTHUR RACKHAM1912 EDITIONINTRODUCTION_�sop embodies an epigram not uncommon in human history; his fameis all the more deserved because he never deserved it. The firmfoundations of common sense, the shrewd shots at uncommon sense, thatcharacterise all the Fables, belong not him but to humanity. Inthe earliest human history whatever is authentic is universal: andwhatever is universal is anonymous. In such cases there is alwayssome central man who had first the trouble of collecting them, andafterwards the fame of creating them. He had the fame; and, on thewhole, he earned the fame. There must have been something great andhuman, something of the human future and the human past, in such aman: even if he only used it to rob the past or deceive the future.The story of ...

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Nombre de lectures 23
Langue English
The Project Gutenberg EBook of Aesop's Fables, by Aesop This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Aesop's Fables Author: Aesop Release Date: February 27, 2004 [EBook #11339] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK AESOP'S FABLES *** Produced by Suzanne Shell, Greg Chapman and the Online Distributed Proofreading Team. SOP'S FABLES A NEW TRANSLATION BY V. S. VERNON JONES WITH AN INTRODUCTION BY G. K. CHESTERTON AND ILLUSTRATIONS BY ARTHUR RACKHAM 1912 EDITION INTRODUCTION _sop embodies an epigram not uncommon in human history; his fame is all the more deserved because he never deserved it. The firm foundations of common sense, the shrewd shots at uncommon sense, that characterise all the Fables, belong not him but to humanity. In the earliest human history whatever is authentic is universal: and whatever is universal is anonymous. In such cases there is always some central man who had first the trouble of collecting them, and afterwards the fame of creating them. He had the fame; and, on the whole, he earned the fame. There must have been something great and human, something of the human future and the human past, in such a man: even if he only used it to rob the past or deceive the future. The story of Arthur may have been really connected with the most fighting Christianity of falling Rome or with the most heathen traditions hidden in the hills of Wales. But the word "Mappe" or "Malory" will always mean King Arthur; even though we find older and better origins than the Mabinogian; or write later and worse versions than the "Idylls of the King." The nursery fairy tales may have come out of Asia with the Indo-European race, now fortunately extinct; they may have been invented by some fine French lady or gentleman like Perrault: they may possibly even be what they profess to be. But we shall always call the best selection of such tales "Grimm's Tales": simply because it is the best collection. The historical sop, in so far as he was historical, would seem to have been a Phrygian slave, or at least one not to be specially and symbolically adorned with the Phrygian cap of liberty. He lived, if he did live, about the sixth century before Christ, in the time of that Croesus whose story we love and suspect like everything else in Herodotus. There are also stories of deformity of feature and a ready ribaldry of tongue: stories which (as the celebrated Cardinal said) explain, though they do not excuse, his having been hurled over a high precipice at Delphi. It is for those who read the Fables to judge whether he was really thrown over the cliff for being ugly and offensive, or rather for being highly moral and correct. But there is no kind of doubt that the general legend of him may justly rank him with a race too easily forgotten in our modern comparisons: the race of the great philosophic slaves. sop may have been a fiction like Uncle Remus: he was also, like Uncle Remus, a fact. It is a fact that slaves in the old world could be worshipped like sop, or loved like Uncle Remus. It is odd to note that both the great slaves told their best stories about beasts and birds. But whatever be fairly due to sop, the human tradition called Fables is not due to him. This had gone on long before any sarcastic freedman from Phrygia had or had not been flung off a precipice; this has remained long after. It is to our advantage, indeed, to realise the distinction; because it makes sop more obviously effective than any other fabulist. Grimm's Tales, glorious as they are, were collected by two German students. And if we find it hard to be certain of a German student, at least we know more about him than We know about a Phrygian slave. The truth is, of course, that sop's Fables are not sop's fables, any more than Grimm's Fairy Tales were ever Grimm's fairy tales. But the fable and the fairy tale are things utterly distinct. There are many elements of difference; but the plainest is plain enough. There can be no good fable with human beings in it. There can be no good fairy tale without them. sop, or Babrius (or whatever his name was), understood that, for a fable, all the persons must be impersonal. They must be like abstractions in algebra, or like pieces in chess. The lion must always be stronger than the wolf, just as four is always double of two. The fox in a fable must move crooked, as the knight in chess must move crooked. The sheep in a fable must march on, as the pawn in chess must march on. The fable must not allow for the crooked captures of the pawn; it must not allow for what Balzac called "the revolt of a sheep" The fairy tale, on the other hand, absolutely revolves on the pivot of human personality. If no hero were there to fight the dragons, we should not even know that they were dragons. If no adventurer were cast on the undiscovered island--it would remain undiscovered. If the miller's third son does not find the enchanted garden where the seven princesses stand white and frozen--why, then, they will remain white and frozen and enchanted. If there is no personal prince to find the Sleeping Beauty she will simply sleep. Fables repose upon quite the opposite idea; that everything is itself, and will in any case speak for itself. The wolf will be always wolfish; the fox will be always foxy. Something of the same sort may have been meant by the animal worship, in which Egyptian and Indian and many other great peoples have combined. Men do not, I think, love beetles or cats or crocodiles with a wholly personal love; they salute them as expressions of that abstract and anonymous energy in nature which to any one is awful, and to an atheist must be frightful. So in all the fables that are or are not sop's all the animal forces drive like inanimate forces, like great rivers or growing trees. It is the limit and the loss of all such things that they cannot be anything but themselves: it is their tragedy that they could not lose their souls. This is the immortal justification of the Fable: that we could not teach the plainest truths so simply without turning men into chessmen. We cannot talk of such simple things without using animals that do not talk at all. Suppose, for a moment, that you turn the wolf into a wolfish baron, or the fox into a foxy diplomatist. You will at once remember that even barons are human, you will be unable to forget that even diplomatists are men. You will always be looking for that accidental good-humour that should go with the brutality of any brutal man; for that allowance for all delicate things, including virtue, that should exist in any good diplomatist. Once put a thing on two legs instead of four and pluck it of feathers and you cannot help asking for a human being, either heroic, as in the fairy tales, or un-heroic, as in the modern novels. But by using animals in this austere and arbitrary style as they are used on the shields of heraldry or the hieroglyphics of the ancients, men have really succeeded in handing down those tremendous truths that are called truisms. If the chivalric lion be red and rampant, it is rigidly red and rampant; if the sacred ibis stands anywhere on one leg, it stands on one leg for ever. In this language, like a large animal alphabet, are written some of the first philosophic certainties of men. As the child learns A for Ass or B for Bull or C for Cow, so man has learnt here to connect the simpler and stronger creatures with the simpler and stronger truths. That a flowing stream cannot befoul its own fountain, and that any one who says it does is a tyrant and a liar; that a mouse is too weak to fight a lion, but too strong for the cords that can hold a lion; that a fox who gets most out of a flat dish may easily get least out of a deep dish; that the crow whom the gods forbid to sing, the gods nevertheless provide with cheese; that when the goat insults from a mountain-top it is not the goat that insults, but the mountain: all these are deep truths deeply graven on the rocks wherever men have passed. It matters nothing how old they are, or how new; they are the alphabet of humanity, which like so many forms of primitive picture-writing employs any living symbol in preference to man. These ancient and universal tales are all of animals; as the latest discoveries in the oldest pre-historic caverns are all of animals. Man, in his simpler states, always felt that he himself was something too mysterious to be drawn. But the legend he carved under these cruder symbols was everywhere the same; and whether fables began with sop or began with Adam, whether they were German and medival as Reynard the Fox, or as French and Renaissance as La Fontaine, the upshot is everywhere essentially the same: that superiority is always insolent, because it is always accidental; that pride goes before a fall; and that there is such a thing as being too clever by half. You will not find any other legend but this written upon the rocks by any hand of man. There is every type and time of fable: but there is only one moral to the fable; because there is only one moral to everything_. G. K. CHESTERTON CONTENTS THE FOX AND THE GRAPES THE GOOSE THAT LAID THE GOLDEN EGGS THE CAT AND THE MICE THE MISCHIEVOUS DOG THE CHARCOAL-BURNER AND THE FULLER THE MICE IN COUNCIL THE BAT AND THE WEASELS THE DOG AND THE SOW THE FOX AND THE CROW THE HORSE AND THE GROOM THE WOLF AND THE LAMB THE PEACOCK AND THE CRANE THE CAT AND THE BIRDS THE SPENDTHRIFT AND THE SWALLOW THE OLD WOMAN AND THE DOCTOR THE MOON AND HER MOTHER MERCURY AND THE WOODMAN THE ASS, THE FOX, AND THE LION THE LION AND THE MOUSE THE CROW AND THE PITCHER THE BOYS AND THE FROGS THE NORTH WIND AND THE SUN THE MISTRESS AND HER SERVANTS THE GOODS AND THE ILLS THE HARES AND THE FROGS THE FOX AND THE STORK THE WOLF IN SHEEP'S CLOTHING THE STAG IN THE OX-STALL THE MILKMAID AND HER PAIL THE DOLPHINS, THE WHALES, AND THE SPRAT THE FOX AND THE MONKEY THE ASS AND THE LAP-DOG THE FIR-TREE AND THE BRAMBLE THE FROGS' COMPLAINT AGAINST THE SUN THE DOG, THE COCK, AND THE FOX THE GNAT AND THE BULL THE BEAR AND THE TRAVELLERS THE SLAVE AND THE LION THE FLEA AND THE MAN THE BEE AND JUPITER THE OAK AND THE REEDS THE BLIND MAN AND THE CUB THE BOY AND THE SNAILS THE APES AND THE TWO TRAVELLERS THE ASS AND HIS BURDENS THE SHEPHERD'S BOY AND THE WOLF THE FOX AND THE GOAT THE FISHERMAN AND THE SPRAT THE BOASTING TRAVELLER THE CRAB AND HIS MOTHER THE ASS AND HIS SHADOW THE FARMER AND HIS SONS THE DOG AND THE COOK THE MONKEY AS KING THE THIEVES AND THE COCK THE FARMER AND FORTUNE JUPITER AND THE MONKEY FATHER AND SONS THE LAMP THE OWL AND THE BIRDS THE ASS IN THE LION'S SKIN THE SHE-GOATS AND THEIR BEARDS THE OLD LION THE BOY BATHING THE QUACK FROG THE SWOLLEN FOX THE MOUSE, THE FROG, AND THE HAWK THE BOY AND THE NETTLES THE PEASANT AND THE APPLE-TREE THE JACKDAW AND THE PIGEONS JUPITER AND THE TORTOISE THE DOG IN THE MANGER THE TWO BAGS THE OXEN AND THE AXLETREES THE BOY AND THE FILBERTS THE FROGS ASKING FOR A KING THE OLIVE-TREE AND THE FIG-TREE THE LION AND THE BOAR THE WALNUT-TREE THE MAN AND THE LION THE TORTOISE AND THE EAGLE THE KID ON THE HOUSETOP THE FOX WITHOUT A TAIL THE VAIN JACKDAW THE TRAVELLER AND HIS DOG THE SHIPWRECKED MAN AND THE SEA THE WILD BOAR AND THE FOX MERCURY AND THE SCULPTOR THE FAWN AND HIS MOTHER THE FOX AND THE LION THE EAGLE AND HIS CAPTOR THE BLACKSMITH AND HIS DOG THE STAG AT THE POOL THE DOG AND THE SHADOW MERCURY AND THE TRADESMEN THE MICE AND THE WEASELS